Some people around the world view art history and criticism as subjects devoid of practical value, assuming that art historians are merely individuals who, lacking familiarity with creative work, presume to pass judgment on it. They reduce art history to a collection of facts and biographies that, like other branches of history, amount to nothing more than narrative and record-keeping.
But the reality is that the history of any given art encompasses all the accumulated experience of past generations, containing within it an evaluative lens through which artistic works can be understood and future development guided. The history of each art functions as a mirror reflecting the evolution of human thought within that domain.
Consider architecture as an example. It can be said that the development of architecture has always emerged from the interaction between tradition and innovation. An architect who does not know the history of architecture is like a traveler without a map. Knowledge of the past does not mean subjugation to it; rather, it provides the roots from which new branches grow.
In Western countries, the history and theory of architecture have always occupied an essential place in education. The depth and breadth of architectural criticism in those societies testifies to the importance they assign to these fields. In our country, however, architectural history and art history in general have been treated as marginal subjects, and this approach has impoverished our architectural culture.
The study of art history is not about memorizing dates and names. It is about understanding the principles, values, and ideas that shaped the creative output of each era. For an architect, understanding the reasoning behind the buildings of the past opens entirely new horizons for contemporary practice. The history of art and architecture is a vast ocean of experience that offers invaluable resources for creative endeavor, provided one knows how to navigate it.
In recent decades, international attention to art history and criticism has been growing considerably. Leading universities dedicate substantial resources to these fields. In Iran, we have yet to establish a proper tradition of architectural criticism and art history that can truly serve the profession. It is time to recognize that art history is not a luxury but a necessity, not merely an academic exercise but a vital instrument for anyone who seeks to create meaningful architecture.